The Manual of Museum Exhibitions

Front Cover
Barry Lord, Gail Dexter Lord
Rowman Altamira, 2002 - Business & Economics - 544 pages
4 Reviews
The Manual of Museum Exhibitions is a practical, hands-on, comprehensive guide to the entire process of planning, designing, producing, and evaluating exhibitions for museums of all kinds. Conceived, organized, and edited by Gail and Barry Lord, this invaluable book includes contributions by masters of each step in the complex art of museum exhibition-making. Subjects range from traditional displays of art, artifacts, and specimens from the permanent collection to the latest developments in virtual reality, online exhibitions, simulators, and big-screen reality. An exciting array of stimulating case studies featuring outstanding museum exhibitions from both sides of the Atlantic makes this manual all the more valuable to practitioners and students of the museum profession, architects, designers and the many specialized contractors involved in 21st-century exhibitions. The book is also useful and interesting reading for museum Trustees and Board members, volunteers, and all others who understand and enjoy the educational value of today's museum exhibitions. The Manual of Museum Exhibitions is particularly remarkable for its comprehensive scope, including evaluation processes, exhibition gallery requirements, and practical methods for each step in the planning, design, production, and project management of exhibitions. The final chapter surveys contemporary developments and presents a particularly impressive group of case studies that suggest possible directions for museum exhibition development in the new millennium. The Manual of Museum Exhibitions is a practical, hands-on, comprehensive guide to the entire process of planning, designing, producing, and evaluating exhibitions for museums of all kinds. Conceived, organized, and edited by Gail and Barry Lord, this invaluable book includes contributions by masters of each step in the complex art of museum exhibition-making. Subjects range from traditional displays of art, artifacts, and specimens from the permanent collection to the latest
  

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Fantastic guide to gallery spaces and programming. Better suited to larger facilities but good hints for small galleries as well.

Contents

Introduction The Exhibition Planning Process
1
Why?
9
The Purpose of Museum Exhibitions
11
21 EXHIBITIONS AS A FUNCTION OF MUSEUMS
12
22 MUSEUM EXHIBITIONS AS THE COMMUNICATION OF MEANING
15
23 MODES OF EXHIBITION APPREHENSION
19
EXHIBITIONS AT THE CORNING MUSEUM OF GLASS
23
Where do Exhibition Ideas Come From? 31 RESEARCHBASED AND MARKETDRIVEN EXHIBITIONS
27
84 EDUCATIONAL AND OTHER PUBLIC PROGRAMMES FOR EXHIBITIONS
297
Financial Planning and Management of Exhibitions
317
91 DEVELOPING AN EXHIBITION BUDGET TEMPLATE
318
92 FINANCIAL PLANNING AND MANAGEMENT OF A TEMPORARY EXHIBITION PROGRAMME
338
Curatorship in the Exhibition Planning Process
345
102 CURATORIAL RESEARCH
346
MAKING AND MEANING Turners The Fighting Temeraire at the National Gallery London
348
103 COLLECTION EVALUATION SELECTION AND DEVELOPMENT
353

32 PLANNING FOR EXHIBITION RESEARCH
29
INTEGRATING THE VOICES OF COMMUNITIES AND AUDIENCES
32
HUUPUKWANUMTUPAAT OUT OF THE MIST TREASURES OF THE NUUCHAHNULTH CHIEFS
35
How Will We Know When We Get There? Exhibition Evaluation 41 THE ROLE OF MARKET ANALYSIS
39
FRONTEND FORMATIVE AND SUMMATIVE EVALUATION
44
EVALUATION FORA PERMANENT EXHIBITION ABOUT THE WORK OF CONSERVATORS Caught in Time at National Museums and Gallerie...
54
43 QUALITATIVE AND QUANTITATIVE AUDIENCE RESEARCH
58
Where? Space and Facilities for Exhibitions
67
Planning and Designing Exhibition Facilities
69
51 DEVELOPING DESIGN CRITERIA FOR EXHIBITION SPACE
73
DESIGN CRITERIA The International Glass Museum Tacoma Washington
74
52 PROJECTING DISPLAY SPACE REQUIREMENTS
76
VISIBLE STORAGE AT THE MUSEUM OF ANTHROPOLOGY MOA University of British Columbia Vancouver Canada
86
SUPPORT ACTIVITIES AND FACILITIES
90
54 ACCESS ADJACENCY AND CIRCULATION
98
55 PRESERVING COLLECTIONS IN EXHIBITIONS
110
56 SECURITY AND PUBLIC SAFETY IN EXHIBITIONS
124
57 EXHIBITION ACCESSIBILITY
134
Exhibition Galleries
143
61 GALLERIES FOR ART OR ARCHIVES
144
62 GALLERIES FOR ARTEFACTS OR SPECIMENS
148
63 CHILDRENS MUSEUM AND SCIENCE CENTRE GALLERIES
153
64 STUDY SPACES
158
65 MULTIPURPOSE PUBLIC SPACES
159
ONE NEW KIND OF GALLERY Discovery Libraries at the Denver Art Museum
160
ALASKA NATIVE HERITAGE CENTER A Gathering of Traditions Anchorage Alaska
164
66 LIGHT AND COLOUR IN THE GALLERIES
166
67 GALLERY STRUCTURE
172
68 MATERIALS AND FINISHES
185
Gallery Facilities and Equipment
197
71 DISPLAY CASES
198
72 LIGHTING
207
73 AUDIOVISUAL HARDWARE
214
ENHANCING THE EXPERIENCE
222
75 ADVANCED MEDIA IN MUSEUM EXHIBITIONS
234
MULTIMEDIA INVESTMENT STRATEGIES AT THE MINNEAPOLIS INSTITUTE OF ARTS Preparing for the Inevitable Tomorrows
236
THE FEAST OF A THOUSAND YEARS At the Ename Provincial Museum Belgium
246
How? The Exhibition Development Process
259
Planning and Managing an Exhibition Programme
261
81 PERMANENT COLLECTION DISPLAY
262
ODYSSEY A JOURNEY INTO WORLD ART at the Peabody Essex Museum Salem Massachusetts
268
82 PLANNING AND MANAGING TEMPORARY EXHIBITIONS
276
AFRICAN ZION From Temporary to Permanent at the Walters Art Gallery Baltimore
288
83 TRAVELLING EXHIBITIONS
290
THE TREASURES TO GO TRAVELLING EXHIBITIONS TOUR Smithsonian American Art Museum Washington DC
293
104 DOCUMENTATION
354
105 CONSERVATION
355
106 PREPARATION OF THE EXHIBITION BRIEF
356
Interpretative Planning 111 THE COMMUNICATION PROCESS
373
112 THE LOGISTICAL PROCESS
376
113 THE INTERPRETATIVE PLANNING PROCESS
377
MAKING THE EARTH MOVE FOR YOU The Earth Galleries at the Natural History Museum London
387
Exhibition Text
393
121 BALANCING PERSPECTIVES IN EXHIBITION TEXT
394
122 EXHIBITION TEXT GUIDELINES
398
123 INCLUDING TEXT IN THE EXHIBITION PROCESS
400
124 THE LANGUAGE OF MULTIMEDIA
402
The Role of the Exhibition Designer 131 CRITERIA FOR EFFECTIVE MUSEUM EXHIBITION DESIGN
405
132 DESIGNING THE SPACE FOR A MUSEUM EXHIBITION
409
133 DESIGNING EXHIBITIONS FOR THE WHOLE SENSORIUM
411
134 THE EXHIBITION DESIGN PROCESS
412
A WALK PAST TIME Architecture Evolution and the Tree of Life the renovation and reinterpretation of the American Museum of Natural History ...
421
Construction and Installation
425
142 CONTRACTING THE CONSTRUCTION AND INSTALLATION
426
TESTING EXHIBITS DURING CONSTRUCTION FOR THE KIRBY SCIENCE DISCOVERY CENTER SIOUX FALLS SOUTH DAKOTA
433
Lighting The Show
437
LIGHTING THE SCOTLAND IN HISTORY EXHIBITION AT THE MUSEUM OF SCOTLAND EDINBURGH
440
The Role of the Project Manager
443
161 PROJECT MANAGEMENT TOOLS
444
162 DOCUMENTATION
445
164 COMMISSIONING AND COMPLETING THE EXHIBITION PROJECT
447
OPERATION AND MAINTENANCE
448
THE ROALD DAHL CHILDRENS GALLERY Project Management at Buckinghamshire County Museum
450
Exhibition Retail 171 RETAIL RESEARCH
455
172 MERCHANDISE MIX
457
173 BEYOND THE MUSEUM SHOP
459
174 PRODUCTS RELATED TO TEMPORARY EXHIBITIONS
461
VAN GOGH FACE TO FACE AT THE DETROIT INSTITUTE OF ART PLANNING THE EXHIBITION SHOP
465
What Now?
467
Museum Exhibitions in the 21st Century
469
QUESTIONING SCIENTIFIC AUTHORITY A Question of Truth at the Ontario Science Centre Toronto Canada
475
THE GRANDE GALERIE DE LEVOLUTION Museum National dHistoire Naturelle Paris
479
FOLLOW THE NORTH STAR AT CONNER PRAIRIE INDIANA A Case Study in Controversial Programming
483
ENCHANTED WORLDS A Presentation for Children on Multicultural Society at the Museum of Ethnology Rotterdam
487
ART ON TYNESIDE at the Laing Art Gallery Tyne and Wear Museums Newcastle upon Tyne
491
Glossary
497
Annotated Bibliography
511
Index
523
Copyright

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Page 511 - The sum established by the owner as available for the entire project, including the construction budget, land costs, equipment costs, financing costs, compensation for professional services, contingency allowance, and other similar established or estimated costs.

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About the author (2002)

Barry Lord is co-founder and Director of LORD Cultural Resources Planning and Management Inc. With Gail Dexter Lord he is also co-editor of The Manual of Museum Planning and co-author of The Manual of Museum Management. A former curator, art critic, art historian and museum educator, he has organized and curated many exhibitions over the past four decades, and planned exhibition galleries and facilities for hundreds of museums on four continents. His work is well known in Singapore, Korea, Australia and Hong Kong, as well as in Great Britain, the United States and Canada. He also lectures on museum planning and management worldwide.

Gail Dexter Lord is co-founder and Director of LORD Cultural Resources Planning and Management Inc. With Barry Lord she is also co-editor of The Manual of Museum Planning and co-author of The Manual of Museum Management. She has directed planning and management studies, visitor evaluation and exhibition development projects for hundreds of museums and galleries throughout the United Kingdom, continental Europe, North America, Asia and Australia. An inspiring teacher, she also teaches museum planning and management worldwide.

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